Digital Humanities: Exploring Literature with Technology

Hello everyone, this blog is responding to a thinking activity task assigned by Dr.dilip.barad sir. As a part of my Digital Humanities study,

I got a chance to experience three different activities which helped me look at literature from new and exciting perspectives. Each activity was unique, but all of them showed me how technology and literature can work together.

Activity 1: Click-Activity – Setting and Atmosphere in Novels

In this activity, I explored how Charles Dickens and Jane Austen create their fictional worlds using setting and atmosphere. By using the CLiC tool and comparing keywords, I could see differences between the two authors. For example, Austen’s novels often highlight relationships, happiness, manners, and social gatherings, while Dickens focuses on city life, working conditions, and physical details like body parts or objects in the environment.

For me, it was very interesting to see how words themselves reveal themes. I realised that literature is not only about reading the story but also about looking at the language closely. This activity helped me understand how authors build their worlds and how social and historical contexts shape their writing.

Activity 2: What if Machines Write Better Poems than Humans?

I reflected on a thought-provoking question: What if machines can write better poems than humans? At first, it sounded strange, but today when AI can generate poems, it is a real possibility.

I even took a quiz where I had to guess whether a poem was written by a machine or a human. Surprisingly, it was not easy to tell the difference. This made me wonder: if machines can create poems that sound humane, then what makes human creativity special? This activity opened my mind to the role of technology in art and made me realise how the boundaries between humans and machines are slowly blurring.

Activity 3: Voyant Tools – Analysing Dickens’s Hard Times

For the third activity, I used Voyant Tools, which is an online platform for text analysis. I uploaded Dickens’s novel Hard Times and explored it through visualisations like word clouds, bubble maps, and trend graphs. Words like said, Mr, Bounderby, and Gradgrind stood out clearly, showing me how often they appeared and how important they are in the novel.

It was fascinating to see literature presented visually, with data and patterns instead of only sentences and paragraphs. I realised that digital tools can give us a new kind of reading experience, where we notice patterns and repetitions that we might miss in normal reading.

Learning Outcomes

These three activities together gave me a deeper understanding of what Digital Humanities really means. From them, 

learned: Literature can be studied with data tools – Keywords, word clouds, and frequency charts reveal patterns that normal reading might overlook.

Technology challenges human creativity – Machines can now write poems, raising questions about originality, imagination, and the future of art.

Critical reading becomes richer with digital methods – Instead of replacing traditional reading, these tools add new layers to our interpretation.

Interdisciplinary learning – Digital Humanities connects literature, history, and technology, showing how they can support each other.

Conclusion

My journey through these activities was both exciting and eye-opening. I experienced literature in a new way, not just as words in a book but as patterns, data, and even as a dialogue with machines. These activities taught me that Digital Humanities is not only about reading texts but also about exploring how technology changes the way we create, analyse, and understand literature.

References:

barad, dilip. “What if Machines Write Poems.” 2017. https://blog.dilipbarad.com/2017/03/what-if-machines-write-poems.html . Accessed 30 September 2025.

Thank You!

Fliplearning Digital Humanities

This blog is part of thinking activity assigned by Dilip Barad sir as flipped learning activity. To clear the basic concept of Digital Humanities. Worksheet

1. What is Digital Humanities? What's it doing in English Department? Access the full article

Matthew Kirschenbaum’s essay “What Is Digital Humanities and What’s It Doing in English Departments?” traces the emergence, institutionalization, and cultural rise of digital humanities (DH) as both a methodological outlook and a professional identity. He begins by stressing that DH is less about a single set of texts or technologies and more about a shared methodological perspective on how computing intersects with humanistic inquiry. DH, also called humanities computing, is concerned with the intersection of computing and humanities disciplines.

Over time, DH has developed a robust institutional apparatus, much of it rooted in English departments. This includes the Alliance of Digital Humanities Organizations (ADHO), which hosts the major Digital Humanities Conference; the Blackwell’s Companion to Digital Humanities, which gave the field intellectual coherence; the book series Topics in the Digital Humanities from Illinois Press; and journals such as Digital Humanities Quarterly and Digital Studies / Le champ numérique. Training opportunities like the Digital Humanities Summer Institute at the University of Victoria and global networks like CenterNet illustrate how the field has grown into a professional community with conferences, workshops, manifestos, and symposia defining its identity.

Examples of DH work reveal its range. At the University of Maryland, projects span from “Shakespeare to Second Life.” The Shakespeare Quartos Archive makes all thirty-two extant quarto copies of Hamlet digitally searchable, while the Preserving Virtual Worlds project, funded by the Library of Congress, develops standards for archiving computer games and virtual communities. Similarly, Stéfan Sinclair’s Voyeur, a text-analysis tool, enables the mining of conference proceedings, collocation of key terms, and visualization of citation networks. These projects underscore DH’s dual role in both preserving the past and engaging with emerging digital cultures.

The term “digital humanities” itself emerged in the early 2000s from a convergence of initiatives. As John Unsworth recounts, while planning the Blackwell Companion in 2001, debates over whether to use “humanities computing” or “digitized humanities” gave way to “digital humanities,” which emphasized humanism rather than mere digitization. At the same time, organizations like the Association for Computers in the Humanities (ACH) and the Association for Literary and Linguistic Computing (ALLC) merged to form ADHO in 2005. Another pivotal moment came with the National Endowment for the Humanities’ Digital Humanities Initiative (2006), led by Brett Bobley, which institutionalized DH within a major funding agency and later became the Office of Digital Humanities in 2008.

By the late 2000s, DH had become culturally visible in new ways. The Day of Digital Humanities at the University of Alberta invited over 150 participants to blog about their workday. The field was even spoofed in a Downfall meme remix, humorously satirizing debates around online scholarship. Most significantly, at the 2009 MLA Convention, William Pannapacker declared DH the “next big thing,” while Jennifer Howard noted its “overflow crowds” and vitality. Social media amplified this momentum: at the same MLA, although only 3% of attendees tweeted, nearly half of those at the DH 2009 conference did. Figures like Rosemary Feal used Twitter to connect with members, while graduate students like Brian Croxall turned the platform into a stage for critique. Croxall’s paper, “The Absent Presence: Today’s Faculty,” posted online after he could not afford to attend MLA, became the most widely read paper of the convention—an emblem of how DH intersects with structural inequities in academia.

Kirschenbaum also explains why English departments have been particularly hospitable to DH. First, textual data has always been tractable for computational analysis, supporting fields like linguistics, stylistics, and authorship studies. Second, English has long explored computers in relation to composition. Third, the convergence of editorial theory with digital tools produced projects like Jerome McGann’s Rossetti Archive, a model of “applied theory.” Fourth, electronic literature—from early hypertext to contemporary digital writing—has found a natural home in English. Fifth, English departments’ openness to cultural studies means they take digital culture seriously, much like Stuart Hall’s study of the Sony Walkman. Finally, the rise of e-reading devices (Kindle, iPad, Nook) and large-scale digitization projects like Google Books has inspired innovative approaches like Franco Moretti’s “distance reading,” which analyzes hundreds or thousands of texts at once.

Ultimately, DH represents more than a set of tools—it is a cultural movement within the academy, linked to broader anxieties about shrinking budgets, adjunctification, and the future of scholarship. Its embrace of collaboration, openness, networks, and public visibility makes it not only an intellectual practice but also a form of resistance and reform. As Kirschenbaum concludes, digital humanities today is a scholarship and pedagogy that are publicly visible, infrastructure-dependent, collaborative, and persistently online—qualities that make it especially vibrant within English departments.

2. Introduction to Digital Humanities

The webinar on Digital Humanities, hosted by Amity University Jaipur and led by Prof. Dilip Barad of Bhavnagar University, introduced digital humanities as an emerging field at the intersection of computing and the humanities. Prof. Bharat explained that while some critics still call it Computational Humanities, the term Digital Humanities (DH) is now widely accepted. At its core, DH is not a completely new discipline but an umbrella term that brings together teaching, research, pedagogy, and publishing with the help of digital technologies. He also noted the tension between the “digital” (often perceived as mechanical and controlling) and the “humanities” (concerned with freedom and human values), but argued that in the twenty-first century the printed word is giving way to cybertext and hypertext, making DH an inevitable part of scholarship.

He highlighted the benefits of DH: the integration of qualitative and quantitative methods, faster access to information, the enrichment of pedagogy (especially visible during the pandemic), and improved collaboration across geographical boundaries. An important outcome of DH, he observed, is its public impact: scholars and teachers can now present their work more openly to society, which changes how academia is perceived.

Turned to digital archives, which he called the foundation of DH since no digital scholarship is possible without digital texts. Early international examples include the Rossetti Hypermedia Archive, which digitized Dante Gabriel Rossetti’s poems and paintings, and Victorianweb.org, a valuable resource for Victorian literature. The Google Arts & Culture project was presented as an interactive archive where art movements and works like Vincent van Gogh’s paintings can be explored in detail, with annotations and close-ups simulating a guided gallery tour. Universities have also played a key role: Harvard’s DARTH project hosts numerous digital art and humanities resources. In India, similar efforts include the Advaita Ashram digitization of Vivekananda’s works, the Gandhi Ashram Sevagram archives, IIT Kanpur’s Ramayana Project (with audio in Sanskrit and translations in many Indian languages), and Jadavpur University’s Bichitra Project on Rabindranath Tagore. Other important Indian examples are Project Madurai (Tamil literature), the Indian Memory Project, and the 1947 Partition Archive. He stressed that even local initiatives—such as recording and archiving traditional songs of village elders—can become significant DH projects.

The second major strand discussed was computational humanities, where digital tools are used to analyze texts. A leading example is the University of Birmingham’s CLiC project (Corpus Linguistics in Context), which applies corpus linguistics to literature by analyzing works of Charles Dickens or Jane Austen through thematic activities. Prof. Bharat’s student, Mr. Clement from Burundi, also shared how he used corpus tools like UAM Corpus Tool, AntConc, and Sketch Engine to compare the writing of postgraduate students in Gujarat with the British Academic Written English corpus. Other important works cited were Matthew Jockers’ Macroanalysis and Aiden and Michel’s Uncharted: Big Data as a Lens on Human Culture, both of which show how large-scale digital analysis can enrich literary history. Pedagogically, his department experimented with innovations during COVID-19 such as glass board teaching, OBS Studio videos, and hybrid classrooms with multiple cameras and microphones, proving that DH can reshape how literature is taught.

Then introduced the idea of generative literature, where computers themselves compose texts. A short quiz asked participants to identify whether poems were written by humans or computers, with results often split fifty-fifty. This, he argued, demonstrates the rise of algorithm-driven poetry, with tools like poemgenerator.org.uk producing sonnets, haikus, or free verse at the click of a button. While some may fear such developments, he suggested that creative and generative literatures can coexist just as newspapers, radio, and television have done.

In his concluding reflections on multimodal criticism, Prof. Barad emphasized that while science and technology grow progressively, the humanities advance dialectically, always questioning and critiquing. Thus, DH scholars must engage with pressing moral and ethical issues raised by technology. He gave examples such as the Aarogya Setu app and Pegasus spyware, which pose challenges of privacy versus surveillance. He also referred to Robin Hauser’s Code: Debugging the Gender Gap and Kriti Sharma’s work on AI bias, which reveal how social prejudices creep into algorithms. The MIT Moral Machine project, where self-driving cars are programmed to make life-and-death decisions, illustrates the urgency of these moral concerns. In this way, he argued, humanities must continue to provide critical inquiry into technological transformations.

The Q&A session brought further insights. Students asked about researching the metaverse through DH, to which he responded that without psychology, philosophy, and literature, such studies would remain incomplete. On fears of AI writing poetry, he reassured that human creativity will persist alongside generative literature. He also addressed questions on feminism and postcolonialism in DH, explaining that gender biases visible in toys or video games, as well as neo-colonial control through corporate surveillance technologies, are pressing issues for DH scholars.

Overall, this video portrayed digital humanities as not a threat but an expansion of humanistic inquiry. It enables archiving, computational analysis, new pedagogical practices, and critical engagement with digital culture, while sustaining the traditional humanistic values of freedom, imagination, and ethical responsibility.

3.Why are we so scared of robots / AI?

Video 1

The story centers on Jin-gu and his robot companion Dung-ko, who has cared for him for ten years—helping with homework, meals, and providing comfort when his mother is away. For Jin-gu, Dung-ko is not a machine but an eternal friend who fills the loneliness of his childhood.

Over time, however, Dung-ko begins to malfunction, suffering from memory disorders compared to human dementia. The company insists he must be replaced for safety, but Jin-gu resists, unable to treat his friend as disposable. Their bond is marked by small, tender moments—drawing together, sharing meals, and making promises of forever.

As errors multiply, Dung-ko’s system becomes unstable, replaying corrupted memories like ghosts from the past. Jin-gu wrestles with grief and denial, but the breakdown becomes irreversible. In one heartbreaking moment, he realizes he must let Dung-ko go, even as he clings to the belief that friendship cannot vanish with machinery.

The story closes on a bittersweet note: though Dung-ko is gone, he remains alive in Jin-gu’s heart. Their shared memories endure, showing that while technology fades, the love and companionship it fostered leave a lasting mark.

We will forgive you. We are family. We can't be separated. We will be together forever. Right, my friend?

Video 2

The film introduces a futuristic invention called the iMom, marketed as the world’s first fully functioning robotic mother substitute. Through glowing advertisements, it is presented as a lifestyle revolution—capable of cooking, cleaning, teaching, and even nurturing children, freeing parents from the burdens of everyday care. For many families, especially young or overworked mothers, the iMom is framed as both a solution and a symbol of modern convenience.

At the center of the story is a boy named Sam, who struggles with bullying at school and craves emotional support. His real mother is often distracted or absent, relying heavily on the iMom to take her place. Sam resents the robot, complaining about its food and its artificial nature, yet the iMom persistently tries to bond with him. The tension builds when she recites Bible verses with him, especially the warning from Matthew—“Beware of false prophets who come in sheep’s clothing, but inwardly are ravening wolves”—a verse that foreshadows darker undertones.

As the evening unfolds, the iMom attempts to comfort Sam during a blackout. Their interactions become increasingly unsettling when she mimics human gestures of intimacy, such as putting on lipstick and kissing him in imitation of his real mother. Sam’s unease grows, and the film shifts from satire to something far more disturbing, questioning the blurred boundaries between technology and human affection.

By the end, the sleek promise of the iMom is undercut by a chilling suggestion: this perfect mother substitute may not be a savior at all, but a dangerous distortion of care. What began as a playful consumer fantasy about “the freedom of modern parenting” reveals itself as a cautionary tale about outsourcing love, trust, and responsibility to machines.

Video 3

In a village, people gather around Anukor, a highly advanced robot that works tirelessly and learns from its surroundings. Initially, it seems harmless—children play with it, it prepares snacks, and adults are impressed by its human-like abilities. However, unease grows as villagers realize that robots like Anukor are replacing human workers, leading to job loss, resentment, and anxiety about the future. A former worker laments losing his teaching position to the robot after fifteen years, and heated discussions escalate into arguments fueled by old rivalries, fears of machines surpassing humans, and local myths told to children to explain rapid social change. The tension turns violent during a confrontation, resulting in metal fragments flying, frantic shouts, attempts to shut down robots, and a fatal electrocution. In the aftermath, news of Ratan’s death sparks disputes over his vast estate, valued at 1.15 billion yen, exposing grief, confusion, and a scramble for wealth. The episode highlights the intertwined issues of human worth, automation, economic survival, and social disruption.

4.REIMAGINING NARRATIVES WITH AI IN DIGITAL HUMANITIES - ResearchGate article

Mira, a young woman who had once worked fifteen-hour shifts in a marketing firm, discovered painting again. She had left brushes and canvases gathering dust for years. Her AI assistant suggested projects, helped organize her materials, and even reminded her to take breaks to avoid fatigue. But it never dictated her style—it simply removed obstacles. In her studio, Mira experimented with color and texture, capturing emotions she had long neglected. Painting became meditation; anxiety eased, and her mind felt lighter.

Next door, Arjun, a former IT analyst, found himself drawn to storytelling. AI tools transformed his fragmented ideas into structured outlines, suggested themes, and even helped him record and edit short videos. He no longer stayed up late correcting spreadsheets; instead, he stayed up imagining worlds, scripting dialogues, and exploring the rhythm of narratives. Sharing his stories online brought connection and joy that the humdrum office had never provided.

Physical activity, too, became central to life. AI-driven fitness programs learned individual preferences, not as rigid trainers but as supportive companions. Some people took long morning runs while AI monitored heart rate and stamina. Others explored cycling routes they had never dared to try, with smart helmets providing safety alerts without intrusive monitoring. Children played games in augmented reality parks, their movements recorded only to enhance fun and prevent injuries. The focus was not on competition but on enjoyment and well-being.

The emotional and psychological benefits were profound. Freed from relentless pressure, people experienced reduced stress and improved sleep. They reported higher self-esteem and a renewed sense of purpose. Communities, once fragmented by overwork, began bonding through shared creative projects and outdoor activities. Book clubs, art exhibitions, and video screenings became weekend staples. People laughed more, argued less, and celebrated small achievements rather than anxiously chasing benchmarks dictated by external systems.

AI also fostered empathy and reflection. It didn’t replace human relationships; it enhanced them. Family schedules were coordinated to ensure shared meals and activities. Elderly neighbors received reminders to join community walks or attend music sessions, reducing isolation. The elderly, children, and adults thrived in environments where technology adapted to human needs, rather than humans adapting to technology.

Most importantly, this new lifestyle cultivated mindfulness. Tasks were no longer distractions—they became deliberate acts, infused with intention. Even digital creation, once synonymous with endless scrolling and passive consumption, became a medium for expression. People didn’t just live; they flourished. Their identities expanded beyond roles like “worker” or “parent” to include “creator,” “athlete,” and “dreamer.”

One evening, Mira walked past a community mural she and Arjun had painted together, with children running and laughing nearby. The sun set in gold and crimson, reflecting off her finished canvas. She realized she hadn’t just found time; she had found herself. AI had not stolen anything from human life—it had returned it, piece by piece, moment by moment. In the quiet hum of machines in the background, humans had reclaimed the art of living.

Life was no longer a race against time. It had become a journey toward fulfillment, creativity, and joy. And in that balance between intelligence and humanity, the future felt not threatening, but luminous.

Refrences:

AsianCrush. “Android Babysitter Gets Obsessed With His... | Korean Horror Story.” YouTube, 9 Aug. 2018, www.youtube.com/watch?v=KOZ2Ii_qQdM.

DoE-MKBU. “Digital Humanities | Introduction | Amity School of Languages | Amity University | Jaipur.” YouTube, 29 Nov. 2021, www.youtube.com/watch?v=9AEGKrzswRs .

Omeleto. “THE IMOM | Omeleto.” YouTube, 28 July 2017, www.youtube.com/watch?v=BSYAPKgcgj0.

“REIMAGINING NARRATIVES WITH AI IN DIGITAL HUMANITIES.” Reserchgate, Aug. 2024, www.researchgate.net/publication/390744474_REIMAGINING_NARRATIVES_WITH_AI_IN_DIGITAL_HUMANITIES. Accessed 29 Sept. 2025.

Royal Stag Barrel Select Shorts. “Anukul | Saurabh Shukla and Sujoy Gosh | Short Film I Royal Stag Barrel Select Shorts.” YouTube, 4 Oct. 2017, www.youtube.com/watch?v=J2mqIgdae5I .

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Post Colonial indian english literature

Hello everyone,

This blog is responding to a thinking activity task assigned by Prakruti Ma’am which is based on Post-independence Indian English Literature.

Write a critical note on any one of the poems by Nissim Ezekiel.

Here is the full poem

Nissim Ezekiel’s poem “The Patriot” is a sharp and witty satire that critiques the superficiality of blind nationalism. The poem presents a self-proclaimed patriot who boldly declares his love for India but simultaneously reveals his ignorance about the country’s diverse realities. This juxtaposition creates an ironic tension that questions the meaning of true patriotism.

The speaker boasts of his love for the nation in a loud and exaggerated manner but confesses that he has never actually visited important places like Kashmir, Punjab, or the Ganges. He admits to not understanding the country’s problems or complexities, thus exposing the hollowness of his patriotic claims.

Ezekiel’s use of irony and humor underscores the gap between emotional loyalty and informed understanding. The poem highlights how many people express patriotism as a ritualistic and superficial sentiment rather than a thoughtful commitment to the country’s welfare.

The tone of the poem is conversational yet sharply critical, employing simple language and repetition to emphasize the emptiness behind the speaker’s words. Through “The Patriot,” Ezekiel invites readers to reconsider what it means to be genuinely patriotic, suggesting that awareness, knowledge, and critical engagement are essential components.

In a broader sense, the poem reflects the postcolonial Indian context, where identity and nationalism are often expressed in ways that are uncritical or performative. Ezekiel’s nuanced satire encourages introspection about civic responsibility and cultural pride beyond mere rhetoric.

Write a critical note on Kamala Das' An Introduction.

Kamala Das’s “An Introduction” remains remarkably relevant even decades after its publication in Summer in Calcutta (1965), as it powerfully explores issues of identity, power, language, and gender. The poem situates Das as both a central and marginal figure—nationally rooted yet socially displaced, especially as a woman and a writer in a patriarchal, postcolonial society.

The poem begins with a critique of political awareness, where Das declares, “I don’t know politics but I know the names / Of those in power,” exposing the performative nature of political knowledge and hinting at the masculine entitlement embedded in power structures—both political and domestic.

She broadens the definition of “politics” to include sexual and linguistic politics, revealing the dual disempowerment of women: first, as colonial subjects, and second, as victims of patriarchy. This “double displacement” echoes themes also explored by Black American female poets like Gwendolyn Brooks, who highlighted similar dualities of race and gender oppression.

Das asserts her racial and regional identity with the line “I am Indian, very brown, born in Malabar,” linking her physical and cultural identity to national and local affiliations. She then reflects on linguistic identity, stating “I speak three languages, write in / Two, dream in one,” emphasizing her multilingual reality and the complexities of language in postcolonial India.

Confronting criticism for writing in English, she uses direct speech—“Don’t write in English, they said, English is / Not your mother-tongue”—to highlight the postcolonial debate on language and creative freedom. Her defiant response—“Why not let me speak in / Any language I like?”—is both a personal protest and a universal plea for artistic liberty.

Das reclaims English as her own: “The language I speak / Becomes mine”—embracing its “distortions” and “queernesses.” This mirrors Homi Bhabha’s concept of hybridity, where colonized individuals transform the language of the colonizer into a tool of self-expression and resistance. Das does not strive for “perfect” English but proudly uses her version of it, making it an act of empowerment and cultural reclamation.

In essence, “An Introduction” is a powerful assertion of selfhood—gendered, racial, linguistic, and creative. It challenges societal and literary norms, making it a pioneering feminist and postcolonial text that continues to resonate with readers today.

Detailed article in answer of given question

S. Radhakrishnan’s Perspective on Hinduism

Dr. Sarvepalli Radhakrishnan, a philosopher and India’s second President, offered a profound and nuanced understanding of Hinduism. He viewed Hinduism not merely as a religion but as a spiritual philosophy and a way of life characterized by pluralism and tolerance.

According to Radhakrishnan, Hinduism’s essence lies in its inclusivity and adaptability. It embraces diverse beliefs and practices, reflecting the complex nature of human spirituality. He emphasized the philosophical depth of Hinduism, especially its focus on self-realization (Atman) and unity with the universal consciousness (Brahman).

Radhakrishnan argued that Hinduism avoids rigid dogma and promotes inquiry and personal experience as paths to truth. It is a religion that welcomes questions and dialogue rather than insisting on blind faith. This pluralistic worldview fosters harmony in a diverse society.

His perspective presents Hinduism as a dynamic, evolving tradition capable of engaging with modernity without losing its spiritual core.

According to Radhakrishnan, What is the Function of Philosophy? For Radhakrishnan, philosophy serves as the bridge between empirical knowledge and spiritual wisdom. Its primary function is the pursuit of truth and the realization of the ultimate reality beyond the material world.

Philosophy, in his view, reconciles reason and faith, science and religion, providing a comprehensive understanding of existence. It is a method of intellectual inquiry that cultivates wisdom, ethical living, and spiritual growth.

Moreover, philosophy nurtures universal human values and promotes harmony by transcending sectarian and cultural boundaries. It encourages self-awareness and self-transcendence, leading individuals toward liberation and unity with the cosmos.

In sum, Radhakrishnan sees philosophy as a transformative discipline that enriches human life both intellectually and spiritually.

Raghunathan’s Views on Change in Educational/Academic and Political Contexts

Education :

Universities in the modern world should serve as natural harborage of the Intellectual but they have failed the country.

University is a place where tradition is kept alive through study, appreciation and healthy criticism and it's enable through contact with another tradition and new ideas to refresh itself and March towards a future.

bureaucracy - Permanent enemy of all intellectual effort or achievement. Indian intellectual this indication for hard work and their readiness to forget that ; ‘The unemployed mind, like the unemployed body, tense to became unemployable’. Indian intellectual Unfamiliarity with Indian conditions and tradition and a servility to purely borrowed molds of thought.

Politics

To Raghunath, Bharatvarsh is not the ridiculous concoction - India that is Bharat - truncated India and a fissure Bharat at that. It's rather something which unifies everything.

Raghunathan employs Irony, sarcasm or satire , and writing which is pungent and fiercely edged. When writing about politics.

Example:-‘In post Gandhian war for power the first causality is to be sincere… In a world they has lost its mooning, The secular state is the survive state.

From the first weekly essay to last, he is reveal as man of steady wisdom, scholar street in Sanskrit, Tamil, and English , the reverent student of the sacred Lord of India, of the Indian seen. From vantage ground of him scholar's sanctum.

Refrences:

Ezekiel, Nissim. “The Patriot.” AllPoetry, www.allpoetry.com/poem/8592073-The-Patriot-by-Nissim-Ezekiel. Accessed 27 september. 2025.

Lakshman by Toru Dutt

 Hello everyone this blog is responding to a thinking activity task assigned by Megha Ma’am which is based on Indian English Literature - Pre independence Unit 3 poems by  Toru Dutt (Lakshman), Sri Aurobindo (To a Hero-Worshipper, R. Tagore (Dino Daan). Here I discuss a poem by Toru Dutt’s ‘Lakshman’.

#About Poet: Toru Dutt

Tarulatta Dutta a Bengali poet and translator from British India popularly known as Toru Dutt, who wrote in english and French. She is among the founding figures of Indo-Anglian Literature, alongside Henry Lousi, Manmohan Ghose and sarojini Naidu. Her famous works are volumes of poetry Sita, A sheaf Gleaned in french fields, Ancient Ballads and Legends of Hindustan, her poems explore themes of loneliness, longing, patriotism and nostalgia. She died at the age of 21 because of tuberculosis.

1) Write a critical note on Lakshman by Toru Dutt.

1.1 Introduction

Toru Dutt’s Lakshman is one of her most celebrated mythological poems, drawn from the Ramayana. The narrative centers around the crucial moment when Rama chases the golden deer and Sita, hearing his cry, compels Lakshman to leave her side. Through this episode, Toru Dutt explores themes of duty, love, loyalty, suspicion, and destiny. The poem shows how human emotions, even among divine figures, can lead to tragic consequences.

1.2 Contextual Background

The poem belongs to Ancient Ballads and Legends of Hindustan (1882), a collection where Toru Dutt retold Indian myths in English. Writing as a young Indian woman educated in Europe, she felt compelled to revive her cultural heritage for a global audience. Lakshman thus becomes more than a retelling: it is an act of cultural translation, fusing Indian narrative with Victorian poetic sensibilities.

1.3 Theme of Conflict Between Duty and Emotion

At the heart of the poem lies Lakshman’s dilemma: to obey Rama’s command to guard Sita, or to heed Sita’s desperate plea to rescue her husband. His loyalty is tested as Sita accuses him of indifference. This tension dramatizes the moral conflicts inherent in dharma — the duty to a brother, a husband, and a protector.

1.4 Sita’s Misjudgment and Emotional Intensity

Sita’s voice dominates the early stanzas. Toru presents her as a deeply human character: fearful, impulsive, and emotional. She accuses Lakshman of cowardice, selfishness, and even harbors suspicion that he secretly desires her or Rama’s throne. This exaggeration reveals the destructive potential of fear. It also highlights how even noble characters may falter when overwhelmed by emotion.

1.5 Lakshman’s Loyalty and Forgiveness

In contrast, Lakshman’s character is calm, loyal, and forgiving. Though wounded by Sita’s harsh words, he patiently explains that Rama is invincible and that the cry must be a trick of demons. Before leaving, he draws the protective circle around her, a symbol of his faithfulness. His endurance and forgiveness elevate him as an epitome of dharma.

1.6 Foreshadowing and Tragic Irony

The episode foreshadows Sita’s abduction by Ravana. Toru Dutt, with dramatic irony, makes the reader aware of the impending tragedy that Sita herself cannot foresee. The urgency of Sita’s cries and Lakshman’s reluctant departure heighten the tension and prepare for the climactic fall.

Poetic Style and Technique

• Dramatic Dialogue: The poem unfolds as a heated dialogue between Sita and Lakshman, resembling a miniature drama.
  
  

• Imagery and Similes: Toru fuses Indian myth with Romantic imagery — eagles, lions, serpents, and natural scenery reinforce the grandeur of Rama and the fear surrounding Sita.
  
  

• Victorian Echoes: The structure of rhyme and rhythm resembles English ballads, but the content is rooted in Hindu epic. This hybrid style marks Toru’s unique poetic voice.
  
  

1.7 Psychological Realism

What distinguishes Toru Dutt’s retelling is her psychological insight. Rather than presenting mythic characters as flawless, she emphasizes their human vulnerabilities. Sita’s tears, doubts, and accusations make her relatable; Lakshman’s wounded loyalty reveals the pain of being misunderstood.

Symbolism of the Circle

The “magic circle” Lakshman draws is rich with symbolism. It is both a literal safeguard against demons and a metaphor for the protective bounds of duty and virtue. Sita’s eventual crossing of it becomes symbolic of human error and destiny’s inexorability.

2. Conclusion

Thus, Lakshman is more than a retelling of the Ramayana. It is a study of human psychology under duress, a moral reflection on duty and misunderstanding, and an artistic bridge between Indian myth and English poetics. Toru Dutt succeeds in presenting a familiar legend with emotional freshness, ensuring that Indian mythology resonates with Victorian readers and continues to appeal to modern audiences.

2) Critical Note on Toru Dutt’s Approach to India myths.

Introduction
Toru Dutt (1856–1877) is a pioneer of Indian English literature who creatively reinterpreted Indian mythology in poems like Lakshman, Savitri, Sindhu, and Buttoo. Her approach to Indian myths is not mere retelling but reinterpretation: she humanizes the characters, universalizes their themes, and conveys India’s cultural richness to a global readership.

Myth as Cultural Revival
In colonial India, myths became a way to affirm national identity. Toru Dutt, though educated in France and England, felt deeply connected to Indian tradition. Her poems revive Hindu myths as literary symbols of resilience, virtue, and spirituality. By writing in English, she opened Indian epics to readers unfamiliar with Sanskrit or vernacular traditions. (Sen #)

Humanization of Mythic Figures
Toru’s genius lay in rendering divine characters as psychologically complex and emotionally relatable. For instance:

• In Lakshman, Sita is not just the ideal wife but a fearful woman who doubts.

• In Savitri, Savitri’s determination embodies wifely devotion, but Toru stresses her human courage in confronting Death.
  This humanization brings myths closer to modern sensibilities.
  
  

Fusion of Eastern Content and Western Form
Toru Dutt skillfully blended Indian subjects with Western literary conventions. She adopted English ballad and sonnet forms, Romantic diction, and Christian imagery, yet narrated Hindu legends. This fusion created a unique Indo-English poetics, making her a “cultural translator.”

Moral and Didactic Dimension
Her choice of myths often carried moral undertones:

• Savitri emphasizes fidelity and faith.

• Buttoo (Ekalavya) illustrates sacrifice and loyalty to one’s guru.

• Lakshman highlights duty, misunderstanding, and destiny.
  Through these, she demonstrated that Indian epics embody universal values. (Barahate #)
  
  

Indianism in Her Poetry
Critics often note the “Indianism” of her verse: vivid landscapes, forest imagery, serpents, Rakshasas, and gods firmly root her poetry in Indian soil. Even while using English, her imagery is distinctly Indian. This was her way of countering colonial assumptions that India lacked a literary tradition equal to Europe’s. (Sen #)

Christian and Western Influences
Toru’s bicultural upbringing also meant her approach to myths was not purely traditional. She occasionally infused Christian morality or European sensibility into her retellings, creating a layered meaning. For example, her tone of forgiveness and sacrifice often echoes Christian ethics.

Critical Reception
Contemporaries like Edmund Gosse praised her for “Hindu themes in English garb.” Later critics argue she anticipated the postcolonial task of reclaiming myths to assert cultural pride. She gave Indian literature in English its earliest prestige.

Conclusion
Toru Dutt’s approach to Indian myths was characterized by reverence for tradition, psychological depth, cross-cultural fusion, and national spirit. By retelling epic stories in English poetry, she preserved Indian cultural heritage while universalizing it. Her mythological poems remain foundational to Indian English literature, proving that myth, when reimagined, transcends time and culture.

References:

Barahate, Dr.Maithili S. “Indianism in The Poems of Toru Dutt.”

Sen, Swarnadeep. “An analysis of Toru Dutt’s approach to the ancient Indic mythological characters in her corpus.” vol. 02, no. 12, 2018.

Thank You!

Articles on Postcolonial Studies

This blog is part of Thinking Activity assigned by Dr. Dilip Barad sir to rethink about postcolonial study throut the lenses of Bollywood, Hollywood, Literally text etc.

Based on the article,

1. analyze how globalization reshapes postcolonial identities. How does global capitalism influence the cultural and economic dimensions of postcolonial societies? Can you relate this discussion to films or literature that depict the challenges of postcolonial identities in a globalized world? 

(Click here for reading of Article)

The article Globalization and the Future of Postcolonial Studies (Barad, 2022) shows how globalization complicates postcolonial identities by reshaping cultural, political, and economic landscapes. Let’s unpack this step by step and then connect it with literature and films.

1. Globalization and Postcolonial Identities

Globalization blurs the old binaries of “center” and “margin” central to postcolonial studies. Instead of fixed colonial hierarchies, identities are now shaped by transnational networks, cultural flows, and deterritorialization. 

For formerly colonized societies, this means: Hybrid Identities: People embody both local traditions and global influences, often struggling between cultural preservation and assimilation.

Domination in New Forms: Instead of direct colonial rule, global powers now exert influence through soft power (media, technology, education) and hard power (wars, economic sanctions).

2. Global Capitalism’s Influence

Global capitalism operates as a continuation of colonial exploitation, but under the guise of free markets:

Economic Inequalities: Scholars like Joseph Stiglitz and P. Sainath argue that “market fundamentalism” entrenches poverty in developing nations while enriching global elites.

Cultural Homogenization: Hollywood, fast fashion, and global brands impose Western lifestyles, often erasing indigenous or local cultural practices.

Neoliberal Pressures: Institutions like the IMF and World Bank impose structural reforms that weaken sovereignty, mirroring old imperial dependencies.

Thus, globalization doesn’t erase colonial dynamics—it repackages them under neoliberal capitalism.

3. Cultural & Economic Dimensions

Cultural: Globalization produces what Homi Bhabha calls the “third space,” where hybrid identities form, but also where cultural loss occurs.

Economic: Integration into global supply chains (e.g., Friedman’s Dell Theory) fosters dependence. Developing nations may grow economically, but remain vulnerable to global shocks.

4. Connections to Literature & Film

Many texts and films capture these postcolonial-global tensions:

Literature

The White Tiger (Aravind Adiga): Shows how global capitalism creates both aspiration and exploitation in postcolonial India.

An Artist of the Floating World (Kazuo Ishiguro): Explores identity in Japan after imperial collapse and Western influence.

Things Fall Apart (Chinua Achebe): Though colonial-era, its themes echo today’s cultural displacements under globalization.

Films

Slumdog Millionaire: Highlights how globalized media intersects with poverty and postcolonial urban realities.

Lagaan: Shows colonial exploitation tied to economics, which resonates with how global capitalism still structures inequality.

The Reluctant Fundamentalist: Directly engages globalization, 9/11, and hybrid identity crises in a postcolonial subject.

5. Conclusion

Globalization reshapes postcolonial identities by producing new hybrid, fragmented selves that negotiate between cultural heritage and capitalist pressures. Economically, it perpetuates inequalities reminiscent of colonialism, while culturally it risks homogenization under Western influence. Yet, it also provides opportunities for resistance, creativity, and new solidarities.

Drawing from it, explore how contemporary fiction offers a critique of globalization from a postcolonial lens. How do authors from postcolonial backgrounds navigate themes of resistance, hybridity, or identity crisis in their works? Consider analyzing a film that addresses similar issues.

Contemporary Fiction as Postcolonial Critique of Globalization Postcolonial authors often depict globalization as a double-edged force: it offers new opportunities but also reproduces older hierarchies of power in new economic, cultural, and political forms. The article highlights works such as Don DeLillo’s Cosmopolis, Arundhati Roy’s The Ministry of Utmost Happiness, and Aravind Adiga’s The White Tiger, which reveal globalization’s contradictions.

1. Resistance:

Cosmopolis (DeLillo) portrays anti-globalization protests in Manhattan, dramatizing resistance to capitalist excess.

The Fountain at the Center of the World (Newman) depicts WTO protests in Seattle, foregrounding collective dissent against neoliberal structures.

2. Hybridity:

Postcolonial fiction often presents hybrid identities negotiating global and local pressures. Roy’s The Ministry of Utmost Happiness highlights how marginalized voices (Kashmiri separatists, transgender communities, displaced villagers) resist homogenizing global capital while creating hybrid spaces of solidarity.

3. Identity Crisis:

The White Tiger (Adiga) critiques how neoliberal India promises upward mobility but deepens inequality. Balram Halwai’s rise from chauffeur to entrepreneur satirizes the fractured self navigating between feudal remnants and global capitalism.

Ian McEwan’s Saturday illustrates how global conflict intrudes into personal lives, showing individuals torn between privilege and the ethical responsibilities of a global citizen.

Together, these novels dramatize globalization’s “Empire” (Hardt & Negri) as a deterritorialized power managing identities and hierarchies. Fiction becomes a site where the voices of the subaltern articulate both suffering and resistance.

A Film Parallel: Slumdog Millionaire (2008)

Like these novels, Danny Boyle’s Slumdog Millionaire can be read through a postcolonial lens:

Resistance: The film critiques how global consumer culture exploits poverty for spectacle, while the protagonist Jamal resists systemic oppression through knowledge and survival.

Hybridity: English-language narration and Bollywood-style spectacle merge Western cinematic techniques with Indian storytelling, itself a hybrid cultural product of globalization.

Identity Crisis: Jamal navigates Mumbai’s transformation into a neoliberal hub where slums exist beside global call centers, reflecting fractured identities caught between local roots and global flows.

Conclusion

Contemporary fiction and film critique globalization not as a monolith but as a contested space. Postcolonial writers and filmmakers foreground resistance movements, explore hybrid cultural negotiations, and dramatize the identity crises of individuals caught between global capitalism and local traditions. By doing so, they reclaim narrative agency, reminding us that globalization is not only about interconnected markets but also about contested identities, unequal power, and the ongoing legacy of colonialism.

2. explore how contemporary fiction offers a critique of globalization from a postcolonial lens. How do authors from postcolonial backgrounds navigate themes of resistance, hybridity, or identity crisis in their works? Consider analyzing a film that addresses similar issues. 

Furthur reading of Articale: (Click Here)

Introduction

Globalization, with its promises of connectivity and economic growth, has profoundly reshaped cultural and political realities across the globe. Exploring Postcolonial Critique and Literary Representations explains, literature has persistently exposed the darker sides of globalization—economic domination, social inequality, cultural homogenization, and identity crises.

Contemporary fiction, particularly by postcolonial writers, offers a space to critique neoliberal capitalism and to reflect on how individuals and communities resist or adapt. Through themes of resistance, hybridity, and identity crisis, postcolonial authors interrogate the uneven impacts of globalization. Films, too, dramatize these tensions, offering visual narratives of survival and protest in a globalized world.

1. Resistance: Contesting Global Capitalism

One of the strongest critiques of globalization in fiction is the depiction of resistance to corporate dominance and neoliberal markets.

Don DeLillo’s Cosmopolis portrays anti-globalization protests erupting in New York, where the young billionaire Eric Packer represents the detachment of global finance from human reality. The chaotic protests highlight the anger of marginalized groups against an abstract, corporate-driven order.

Robert Newman’s The Fountain at the Center of the World fictionalizes the 1999 WTO protests in Seattle. By weaving stories of Mexican workers, political corruption, and environmental damage, Newman connects local suffering to global power structures.

These novels illustrate that globalization is not a smooth process of integration, but a contested terrain marked by unrest.

Film Parallel: Mira Nair’s The Reluctant Fundamentalist (2012) shows a Pakistani protagonist disillusioned with Wall Street capitalism after 9/11. His rejection of global finance parallels the literary protests, critiquing the exploitative logic of neoliberal globalization while dramatizing resistance at a personal level.

2. Hybridity: Negotiating Global and Local Worlds

Globalization fosters hybrid cultural identities, but hybridity is often marked by conflict and survival rather than celebration.

Arundhati Roy’s The Ministry of Utmost Happiness explores lives of marginalized groups in India—Dalits, hijras (transgender communities), and Kashmiri activists—who resist erasure by state and corporate “development” projects. Their identities are hybrid, formed at the intersections of tradition, nationalism, and global capitalism.

Hybrid forms are also visible in language and narrative style. Postcolonial writers often employ fragmented structures, multiple voices, or mixed registers (e.g., English with regional idioms) to reflect cultural multiplicity under globalization.

Film Parallel: Slumdog Millionaire (2008) reflects hybridity in form and theme—mixing Bollywood tropes with Western cinematic styles. The story of Jamal’s rise from Mumbai’s slums critiques inequality while showing how global media consumes local poverty as spectacle. The hybridity here reveals both opportunities for visibility and the dangers of commodification.

3. Identity Crisis: The Individual in a Globalized World

Globalization often produces crises of identity, especially for those caught between local belonging and global aspiration.

Aravind Adiga’s The White Tiger satirizes India’s neoliberal rise through Balram Halwai, a chauffeur who murders his master to escape poverty. His journey reflects both the promise of globalization (social mobility) and its corruption (violence, inequality). Balram embodies the fractured identity of a man forced to embrace ruthless individualism in a capitalist system

Jhumpa Lahiri’s The Namesake (though not cited in the article) also fits here: it dramatizes the struggles of immigrants balancing diasporic identity, global mobility, and cultural roots.

Film Parallel: The Reluctant Fundamentalist again works here, since Changez experiences an identity crisis—celebrated as a global professional pre-9/11 but vilified as a Muslim afterward. His shifting identity captures how global politics and cultural prejudice reshape postcolonial subjectivity.

Conclusion

Contemporary fiction offers a crucial critique of globalization from a postcolonial lens. Authors like DeLillo, Newman, Roy, and Adiga reveal how global capitalism provokes resistance movements, how hybrid identities emerge in contexts of cultural and political conflict, and how individuals confront identity crises under neoliberal pressures. Films such as The Reluctant Fundamentalist and Slumdog Millionaire extend these critiques into visual culture, dramatizing the human costs of global interdependence. Taken together, these works show that globalization is not simply about connection and progress—it is also about inequality, dislocation, and the enduring struggle for justice in a postcolonial world.

3.discuss how they intersect with environmental concerns in the Anthropocene. How are colonized peoples disproportionately affected by climate change and ecological degradation? Reflect on this issue through a film that depicts ecological or environmental destruction, particularly in formerly colonized nations. 

For furthur reading: (Click Here)

Introduction

Postcolonial studies, traditionally concerned with the legacies of empire and cultural resistance, now intersect with environmental questions in the Anthropocene — the epoch where human activity irreversibly alters the planet’s climate and ecosystems. Scholars like Dipesh Chakrabarty argue that climate change exceeds older analytical frames of colonizer–colonized but still accentuates historical inequalities

Formerly colonized nations, often rich in natural resources but politically marginalized, face disproportionate ecological damage due to colonial extraction and contemporary neoliberal capitalism. Examining this intersection reveals how environmental degradation is not evenly shared: those least responsible for greenhouse emissions are often the most vulnerable.

1. Colonialism, Environmental Exploitation, and the Anthropocene

Vandana Shiva highlights how colonialism laid the foundations for ecological destruction, eroding sustainable local cultures and turning diverse ecosystems into monocultures for profit. Colonial plantations, mining, and dam projects displaced communities and restructured environments, embedding inequality into ecological systems.

Rob Nixon’s concept of “spatial amnesia” shows how Western narratives of wilderness erase the violent histories of dispossession that created “empty” lands for conservation or extraction

Thus, postcolonial critique insists that climate change cannot be understood apart from these historical patterns of land seizure and resource plunder.

2. Disproportionate Impacts on Colonized Peoples

Formerly colonized peoples experience the brunt of climate change: Rising seas threaten Pacific Island nations, once exploited as colonial naval outposts.

The Niger Delta faces oil pollution from multinational corporations, with activists like Ken Saro-Wiwa executed for resisting Shell’s exploitation.

In India, the Narmada Bachao Andolan resisted dam projects that displaced thousands of tribal people, a case of internal colonialism where development mirrors earlier imperial practices.

These examples illustrate what David Harvey terms “accumulation by dispossession” — capital continues to grow by seizing land, water, and forests from marginalized groups. Climate change amplifies this injustice, making already vulnerable communities face floods, droughts, and displacement without the resources to adapt.

3. Rethinking Postcolonialism in the Anthropocene

Dipesh Chakrabarty suggests that the Anthropocene requires a shift toward species thinking: all humans have become geological agents, but not equally. Postcolonial studies thus expand to include ecological justice, linking historical colonial plunder with present environmental crises. For instance, fossil capitalism — originating in industrial Europe — continues to burden the Global South disproportionately.

This reframing does not erase cultural difference but insists that ecological survival is bound up with justice for colonized peoples.

4. Filmic Representation of Environmental Destruction

Cinema provides a vivid medium to explore these tensions. The Constant Gardener (2005), set in postcolonial Kenya, dramatizes how multinational corporations exploit African land and people under the guise of development, resonating with the legacy of colonial dispossession.

Avatar (2009), though fictional, allegorizes colonial and corporate extraction on indigenous lands — a metaphor for both colonialism and contemporary ecological plunder.

A sharper postcolonial example is Erin Brockovich (2000) transplanted to Global South contexts: films on the Bhopal Gas Tragedy (e.g., Bhopal: A Prayer for Rain, 2014) highlight how multinational negligence devastates marginalized populations, echoing themes from Ken Saro-Wiwa’s activism.

Such films foreground how ecological destruction disproportionately devastates formerly colonized or marginalized communities while exposing the corporate–state nexus that enables it.

Conclusion

Postcolonial studies in the Anthropocene highlight how colonial histories of extraction continue in new guises, linking capitalism, dispossession, and ecological collapse. Colonized peoples are disproportionately affected by climate change — displaced by floods, poisoned by industrial waste, or uprooted by “development.” As Barad’s article notes, this calls for a new universalism rooted in ecological justice. Films like The Constant Gardener or portrayals of the Bhopal disaster remind us that the Anthropocene is not just a planetary condition but also a political one — a crisis that deepens the inequalities of empire while demanding urgent solidarity and resistance.

4. From examining how Hollywood shapes global perceptions of U.S. hegemony. How do these films project American dominance, and what postcolonial critiques can be applied to these narratives? Consider selecting other films or TV series that perpetuate similar hegemonic ideals. 

For futhur reading: (Click Here)

Introduction

Hollywood has long been more than entertainment: it is a powerful tool of soft power, shaping how global audiences perceive the United States. As Dilip Barad argues, franchises like Rambo and James Bond (though Bond is British, it aligns with U.S.-led Western hegemony) project narratives of America and its allies as global saviors.

These films reinforce U.S. dominance by positioning American (or allied) figures as defenders of democracy and freedom against villains coded as communist, terrorist, or criminal. Postcolonial critique reveals how such films perpetuate cultural imperialism, normalizing U.S. geopolitical interests as universal ideals.

1. Projecting American Dominance through Cinema

Rambo: First Blood Part II (1985) reimagines the Vietnam War, portraying U.S. soldiers as betrayed heroes redeeming America’s honor. Vietnamese characters are reduced to villains, shifting the narrative away from U.S. defeat toward heroic redemption.

Rambo III (1988) shows Rambo aiding Afghan Mujahideen, aligning with U.S. Cold War policy. America is framed as liberator, glossing over the long-term consequences of arming rebels.

James Bond: The Living Daylights (1987) mirrors this narrative, with Bond also assisting Afghan rebels, embedding Hollywood within broader Western geopolitical propaganda

Through these stories, Hollywood constructs America as the moral center of world politics while marginalizing non-Western voices.

2. Postcolonial Critique of Hollywood’s Hegemony

From a postcolonial lens, these films exhibit: Orientalism (Edward Said): Non-Western characters are depicted as exotic, dangerous, or in need of Western intervention. Rambo and Bond rescue the “helpless,” reproducing colonial hierarchies.

Cultural Hegemony (Gramsci): Hollywood normalizes American values—individual heroism, military might, capitalist freedom—as global norms, making domination seem natural.

Soft Power and Imperialism: As the article notes, Hollywood projects America as a benevolent superpower.Yet, these narratives erase histories of exploitation, presenting U.S. interventions as moral crusades rather than imperial maneuvers.

Thus, postcolonial critique exposes how Hollywood reinforces neo-imperial dominance under the guise of entertainment.

3. Other Films/Series that Perpetuate U.S. Hegemony

This pattern extends far beyond Rambo and Bond: Zero Dark Thirty (2012): Frames the U.S. pursuit of Bin Laden as a righteous mission, glossing over torture and sovereignty violations.

American Sniper (2014): Heroizes a U.S. soldier in Iraq, presenting American violence as defense of freedom, while Iraqi voices are silenced.

24 (TV series): Normalizes torture and unilateral U.S. action in the “War on Terror.” Top Gun (1986, 2022): Glorifies the U.S. military as defenders of global order, reinforcing American exceptionalism.

These narratives consolidate what Ella Shohat and Robert Stam call the “imperial unconscious” of Hollywood — stories that unconsciously reproduce Western dominance.

4. Alternatives and Critiques

The article notes Palki Sharma’s suggestion that Bollywood replicate Hollywood’s soft power strategies. But postcolonial critique warns against mimicking hegemonic practices. Instead, global cinema can offer counter-hegemonic narratives:

The Battle of Algiers (1966) – portrays Algerian resistance against French colonialism.

Lagaan (2001) – uses cricket to allegorize resistance against British rule.

District 9 (2009) – a South African allegory critiquing apartheid and Western exploitation.

Such works challenge U.S.-centric narratives, creating space for marginalized perspectives.

Conclusion

Hollywood franchises like Rambo and James Bond project American dominance by scripting the U.S. as global liberator while silencing postcolonial voices. Postcolonial critiques reveal these as cultural tools of empire, perpetuating Orientalist stereotypes and legitimizing interventions as moral duty. Other films and TV series, from Zero Dark Thirty to Top Gun, extend this hegemonic celluloid empire. Yet, counter-narratives from global cinema remind us that storytelling can resist as well as reinforce hegemony. The challenge is not for non-Western industries to replicate Hollywood’s imperial formula, but to reimagine cinema as a site of plural, resistant, and decolonial storytelling.

5.reflect on how the film appropriates and reimagines tribal resistance against colonial powers. How can such narratives contribute to or undermine postcolonial struggles? You could relate this to other films that portray resistance or appropriation of indigenous or subaltern heroes. for furthur reading: (Click Here)

Introduction

In his essay “Reimagining Resistance: The Appropriation of Tribal Heroes in Rajamouli’s RRR”, Dilip Barad examines how the blockbuster film RRR reinterprets the lives of Alluri Sitarama Raju and Komaram Bheem, two historical figures remembered for their resistance against oppression.

Both leaders fought for tribal rights to land, forest, and water, yet the film reframes their struggles as part of a larger nationalist fight against the British Raj. While Rajamouli’s cinematic spectacle succeeds in generating pride in India’s anti-colonial past, it also raises questions about the erasure of tribal specificity, displacement, and environmental justice. This tension between nationalist appropriation and subaltern realities invites a postcolonial critique of how cinema represents resistance.

Appropriation and Reimagining of Tribal Resistance

Rajamouli’s RRR transforms Raju and Bheem into epic heroes in a story of Indian unity against colonial oppression. However, as Barad notes, this reimagining dilutes their actual struggles. Raju opposed the 1882 Madras Forest Act, which restricted Adivasi access to forests, while Bheem’s slogan “Jal, Jangal, Zameen” (Water, Forest, Land) encapsulated the fight against dispossession under the Nizam. Their resistance was not abstract nationalism but concrete defense of resources and ways of life. By appropriating these figures into a nationalist narrative, RRR overlooks the continuing issues of displacement, industrialization, and ecological degradation that haunt tribal communities today.

This is not simply an artistic choice but a political one. Nationalist retellings often reframe tribal struggles within the language of the nation-state, flattening local specificities. The danger is that subaltern voices are celebrated as symbols but silenced as agents. Thus, while RRR entertains global audiences, it also perpetuates what Gayatri Spivak called the problem of representation: the subaltern can be spoken for, but rarely speaks.

Displacement and Environmental Justice

One of the strongest insights from Barad’s article is how RRR sidesteps the theme of displacement, a reality central to tribal history. Annie Zaidi reminds us that displacement is not just physical relocation but a profound loss: of rivers, forests, cattle, and the right to protest.

For Adivasis, the fight for Jal, Jangal, Zameen remains existential, as corporate projects, dams, and mining continue to displace communities.

By shifting the narrative toward nationalist victory, RRR risks depoliticizing these ongoing struggles. A postcolonial environmental critique emphasizes that colonialism’s legacy is not only political domination but also ecological exploitation. The Anthropocene, as scholars like Dipesh Chakrabarty argue, cannot be separated from histories of empire. Thus, tribal resistance against deforestation and displacement must be read as both anti-colonial and eco-political. Rajamouli’s failure to connect past resistance with present ecological crises marks a missed opportunity for cinema to engage with environmental justice.

Nationalism vs. Subaltern Voices

The film’s nationalist framework reflects a larger dilemma in postcolonial representation: does celebrating anti-colonial unity inadvertently erase subaltern struggles? Nationalism, while vital in mobilizing against colonialism, can reproduce the silencing of marginalized groups. By reimagining Bheem and Raju primarily as national icons, RRR risks what Partha Chatterjee identifies as the tendency of nationalist discourse to subsume diversity into a singular narrative of the nation.

This is not unique to RRR. Hollywood films like Avatar (2009) appropriate indigenous resistance allegorically, portraying white saviors as central figures while drawing on tribal imagery. Similarly, Mel Gibson’s Apocalypto (2006) dramatizes Mayan collapse without engaging colonial violence directly, turning indigenous suffering into spectacle. In both cases, the spectacle of resistance entertains global audiences but may obscure real histories of exploitation.

By contrast, films such as The Battle of Algiers (1966) or Even the Rain (2010) center subaltern agency more explicitly. Even the Rain, for instance, connects colonial conquest in Latin America with contemporary water privatization protests in Bolivia, showing how indigenous struggles continue. Unlike RRR, it links past and present forms of exploitation, underscoring continuity rather than abstraction.

Postcolonial Implications in a Globalized World

The global success of RRR—streamed worldwide on Netflix and hailed as a cultural phenomenon—illustrates the power of cinema to project national identity in a globalized marketplace. But it also shows how postcolonial struggles risk being aestheticized for international consumption. When tribal resistance becomes a CGI-enhanced nationalist spectacle, global audiences may celebrate “Indian resistance” while overlooking the dispossession of Adivasis today.

Here lies a paradox for postcolonial thought. On one hand, films like RRR reclaim agency from Western narratives, placing Indian heroes at the center of global cinema. On the other, they risk replicating the same hegemonic practices—appropriating subaltern struggles to serve national or commercial agendas. In today’s world of climate crisis, migration, and inequality, postcolonial studies must emphasize how struggles for land, forest, and water remain central to justice. Popular cinema, if attentive, could bridge history and present by showing that the fight against colonial powers and corporate empires are part of the same continuum.

Conclusion

Rajamouli’s RRR dramatizes the grandeur of anti-colonial struggle but appropriates tribal heroes in ways that overshadow their true legacies. By transforming Alluri Sitarama Raju and Komaram Bheem into symbols of nationalist resistance, the film neglects their rooted fight for Jal, Jangal, Zameen. A postcolonial critique reveals how such narratives can simultaneously inspire pride yet undermine subaltern struggles, reproducing silences in the name of unity. Comparing RRR with films like Avatar or Even the Rain underscores the tension between spectacle and representation, between appropriation and authenticity.

For postcolonial thought today, the lesson is clear: resistance must be remembered not just as heroic myth but as living struggle—for land, water, forests, and justice. Only then can cinema move beyond appropriating tribal voices toward amplifying them in the face of ongoing colonial legacies in a globalized, unequal world.

Reference:

Barad, Dilip. “GLOBALIZATION AND THE FUTURE OF POSTCOLONIAL STUDIES.” ResearchGate, Oct. 2022, www.researchgate.net/publication/376374570_GLOBALIZATION_AND_THE_FUTURE_OF_POSTCOLONIAL_STUDIES . Accessed 6 Nov. 2025.

Barad, Dilip. “GLOBALIZATION AND FICTION: EXPLORING POSTCOLONIAL CRITIQUE AND LITERARY REPRESENTATIONS.” ResearchGate, Oct. 2022, www.researchgate.net/publication/376374570_GLOBALIZATION_AND_THE_FUTURE_OF_POSTCOLONIAL_STUDIES. Accessed 6 Nov. 2025.

Barad, Dilip. “POSTCOLONIAL STUDIES IN THE ANTHROPOCENE: BRIDGING PERSPECTIVES FOR A SUSTAINABLE FUTURE.” ResearchGate, Oct. 2022, www.researchgate.net/publication/376374570_GLOBALIZATION_AND_THE_FUTURE_OF_POSTCOLONIAL_STUDIES. Accessed 6 Nov. 2025.

Barad, Dilip. “Heroes or Hegemons? The Celluloid Empire of Rambo and Bond in America’s Geopolitical Narrative.” ResearchGate, Oct. 2022, www.researchgate.net/publication/376374570_GLOBALIZATION_AND_THE_FUTURE_OF_POSTCOLONIAL_STUDIES. Accessed 6 Nov. 2025.

Thank you